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RESOURCES, INNOVATIVE OUTCOMES, AND THE SYMBOLIC AND SUBSTANTIVE PERFORMANCE OF ENTREPRENEURIAL FIRMS: AN EXAMINATION OF INDEPENDENT POPULAR MUSIC ARTISTS by JOHN A DE LEON Presented to the Faculty of the Graduate School of The University of Texas at Arlington in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY THE UNIVERSITY OF TEXAS AT ARLINGTON December 2015 Copyright © by John De Leon 2015 All Rights Reserved ii To my father, Juan De Leon. Dad, I am forever grateful for all you have done. iii Acknowledgments I would like to thank all the people who made this journey possible. First, I would like to thank my wife Melissa, who has been with me throughout this long roller coaster with its many ups and downs. Her support and admiration has helped sustain me. While doubt may have entered my mind, she has always believed in me and my ability to complete this process. I love her with all my heart. I am so happy to be able to have gone through this process with her and I look forward to having her by my side as we look to the next steps in our life together. I would like to thank my parents. Early in my life my father, Juan De Leon, forced me to value education before I understood its’ value for myself. He taught me to work hard, a skill that has enabled me to be successful, and by his hard work he has provided the support to make this possible. I would like to thank my mother, Connie Tovar. She, like my wife, has loved me regardless of my accomplishments and provided the self-confidence that enabled me to complete this dissertation. I would also like to thank my step-mother, Maggie. She has always treated me like a her own son and has provided both guidance and support to make this possible. I would like to thank my dissertation chair, Dr. Liliana Pérez-Nordtvedt. Without her guidance, support, and instruction I would not be here today. She has consistently gone above and beyond as a Chair and invested countless resources into the making of this dissertation. Her contributions, encouragements, and refinements have increased the rigor and quality of this dissertation beyond measure and have made me believe I can succeed in academic life. iv I would like to thank all the faculty at UT Arlington. Specifically, my committee members Dr. Abdul Rasheed, Dr. Scott Pool, and Dr. Mahmut Yasar deserve special recognition for their willingness to serve and their contributions to my dissertation. Further I would also like to thank Dr. Kenneth Price for provided much needed encouragement early on in the doctoral program that helped carry me to completion. As did Drs. George Benson, Marcus Butts, and Margaret McFadyen, in their own way. Finally, though not least of all, I would also like to thank my fellow doctoral students, my band of brothers. I would not have made it without their support and friendship throughout this process. A special thanks to both Brian Martinson and Elena Radeva who adopted me into their inner circle and made the transition into the doctoral program possible. Further, Lee Brown, Jason Lambert, and Jenny Manegold have all been invaluable to me. Brian, Elena, Lee, Jason, and Jenny, thank-you. Lastly, I would be remiss if I did not thank Roberto, Hargrove, Philip, Tae, and Aaron. November 24, 2015 v Abstract RESOURCES, INNOVATIVE OUTCOMES, AND THE SYMBOLIC AND SUBSTANTIVE PERFORMANCE OF ENTREPRENEURIAL FIRMS: AN EXAMINATION OF INDEPENDENT POPULAR MUSIC ARTISTS John A De Leon The University of Texas at Arlington, 2015 Supervising Professor: Liliana Pérez-Nordtvedt The importance of innovation to the success of entrepreneurial firms has been well established in prior work. Yet, important gaps still remain. I draw from the innovation literature, the resource-based view, and institutional theory in order to address how entrepreneurial firms are able to find success through innovation in competitive environments. Specifically, following Penrose’s (1959) approach to the resource-based view, I argue that two resource categories, creativity-related resources and management- related resources, form antecedent conditions for innovative outcomes. I divide these innovative outcomes into two separate components, innovative output and innovative uniqueness. Further, I argue that innovative output and innovative uniqueness have opposing effects on the symbolic and substantive performance of an entrepreneurial firm. Finally, I consider the moderating impact of institutional environments on the relationship between innovative uniqueness and the symbolic and substantive vi performance of an entrepreneurial firm. Empirical analysis of 800 popular music artists provides evidence to support the role of creativity-related resources and management- related resources in driving innovative outcomes. However, contrary to my predictions, I failed to find strong support for the opposing effects of innovative output and innovative uniqueness on the entrepreneurial firm’s symbolic and substantive performance. Strong support was found for the positive impact of innovative output on symbolic and substantive performance, while only mixed support was found for a negative relationship between innovative uniqueness and symbolic performance. Although I used independent recording artists in the popular music industry as a context, my arguments are likely generalizable to entrepreneurial firms that face strong pressure to innovate. Overall, this study provides clarity to the dilemma of entrepreneurial firms that are called to be both distinctive and conventional in order to find success in competitive markets. vii Table of Contents Acknowledgments.............................................................................................................. iv Abstract .............................................................................................................................. vi List of Illustrations ............................................................................................................. xi List of Tables ................................................................................................................... xiii Chapter 1 Statement of Purpose ...........................................................................................1 Chapter 2 Literature Review ................................................................................................9 Innovation ...................................................................................................................... 12 Resource-Based View ................................................................................................... 19 Institutional Theory ....................................................................................................... 27 Chapter 3 The Popular Music Industry ..............................................................................35 Music Industry Value Chain ......................................................................................... 37 Disruptions in the Popular Music Industry ................................................................... 40 The Independent Popular Music Artist as an Entrepreneur .......................................... 42 Institutional Pressures in the Music Industry ................................................................ 43 Chapter 4 Hypotheses Development ..................................................................................48 Antecedents of Innovative Outcomes ........................................................................... 49 Creativity-Related Resources and Innovative Outcomes ......................................... 50 Management-Related Resources and Innovative Outcomes ..................................... 58 Moderation of Creativity-Related Resources by Managerial-Related Resources .... 71 Consequences of Innovative Outcomes ........................................................................ 78 Innovative Outcomes and Performance .................................................................... 78 viii Moderating Effect of Institutional Environments ..................................................... 84 Symbolic and Substantive Performance ................................................................... 86 Chapter 5 Research Methods .............................................................................................94 Data Sources .................................................................................................................. 95 Variable Measurements ................................................................................................. 98 Independent Variables .............................................................................................. 98 Moderator Variable ................................................................................................. 101 Dependent Variables ............................................................................................... 102 Control Variables .................................................................................................... 105 Sample Size ................................................................................................................. 108 Chapter 6 Analysis and Results ......................................................................................110 Sample Characteristics ................................................................................................ 110 Estimation and Results ...............................................................................................

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